I must tell you rather a droll observation of the worthy Hayes. When I explained to her that I had made those worsted bands to fasten your dinner-napkins, for which you had nothing but strings, she said, "Dear me! I wonder at that! And Miss S—— seemed so fond of clever, curious contrivances, for everything." I screamed with delight when she said that, for hadn't I cursed that "curious contrivance" of an inkstand you gave me (Dorothy cursed hers too, no doubt, after her own blessed fashion)? and didn't I curse that execrable "curious contrivance" of a taper you gave me at St. Leonard's, with which I was so enchanted before I used it, and which wasted me by its own small fire every time I did use it, and for the final burning out of which I was so thankful? But are not Hayes's comments on your character comical?
MACREADY. I am sorry to say I have not the same dressing-room I had before at the Princess's Theatre. Mr. Macready is quite too great a man to give it up to anybody, and my attiring apartment now is up a steep flight of stairs, which is a great discomfort to me on several grounds, for I fear the call-boy will hardly come so far out of his way to summon me, and I shall have to sit in the greenroom, which, however, I won't, if I can by any means avoid it; but the proximity of the other room to the stage, and its being on the same level with it, was a great advantage.
I am going to dine with Lady Grey (the Countess, widow of the Lord Grey), and after that to the opera with Henry Greville and Alfred Potocki, who have a box, and have given me a ticket, which I am very glad of.
I had a three hours' rehearsal this morning, and Macready was there. As far as I could judge, he was less unfair in his mode of acting than I had been led to expect. To be sure, at night, he may stand two yards behind me while I am speaking to him, as I am told he often does. He is not courteous or pleasant, or even well-bred; remains seated while one is standing talking to him; and a discussion having arisen as to the situation of a table, which he wished on the stage, and I wished removed, he exhibited considerable irritability and ill-humor.
He is unnecessarily violent in acting, which I had always heard, and congratulated myself that in Lady Macbeth, I could not possibly suffer from this; but was much astonished and dismayed when at the exclamation, "Bring forth men-children only," he seized me ferociously by the wrist, and compelled me to make a demivolte, or pirouette, such as I think that lady did surely never perform before, under the influence of her husband's admiration.
God bless you, dear,
Ever yours,
Fanny.
[I have always had a cordial esteem and respect for Mr. Macready's character, which has been increased by reading the record he has himself left of his life. Of his merits as an actor, I had not a very high opinion, though in one or two parts he was excellent, and in the majority of the tragical ones he assumed, better than his contemporaries, my father, Charles Young, and Charles Kean. He was disqualified for sentimental tragedy by his appearance, and he was without comic power of any kind. Parts of his Macbeth, Lear, Othello, and King John, were powerful and striking, but his want of musical ear made his delivery of Shakespeare's blank-verse defective, and painful to persons better endowed in that respect. It may have been his consciousness of his imperfect declamation of blank-verse that induced him to adopt what his admirers called the natural style of speaking it; which was simply chopping it up into prose—a method easily followed by speakers who have never learned the difference between the two, and that blank-verse demands the same care and method that music does, and when not uttered with due regard to its artificial construction, and rules of rhythm and measure, is precisely as faulty as music sung out of time.
The school of "natural speaking" reached its climax, I presume, in the performance of a charming young actress, of whose delivery of the poetry of Portia it was said in high commendation, by her admirers, that she gave the [blank verse] so naturally that it was impossible to tell that it was not prose. What she did with Shakespeare's prose in the part these judicious critics did not mention.